Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Installation view
展場照
Installation view
展場照
Installation view
展場照
Installation view-Documentation of performance art
展場照-過程影像
Shi Jin-Hua
Floor cloth: 64 3/16 × 472 7/16 in. (163 × 1200 cm)
Water bottle: 12 5/8 in. (H) × 3 9/16 in. diam. (H 32 × Ø 9 cm)
Alms bowl: 3 9/16 in. (H) × 6 11/16 in. diam. (H 9 × Ø 17 cm)
White clothes: 35 13/16 × 29 1/8 in. (91 × 74 cm)
White trousers: 40 3/16 × 19 11/16 in. (102 × 50 cm)
Process photographs: 18 parts; each 18 1/2 × 26 3/16 in. (47 × 66.5 cm)
Video: 8:38 min.
Document: 11 11/16 × 8 1/4 in. (29.7 × 21 cm)
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Ink Walking is a performance piece inspired by the Buddhist parable of “carrying a bowl full of oil to determine one’s life or death,” as well as a pivotal scene in Andrei Tarkovsky’s film Nostalghia, where the protagonist crosses a parched thermal pool. Replacing the oil with a bowl of black ink, the artist repeatedly traverses a length of white cloth. Whenever the ink spills, he replenishes it to the brim with clear water and resumes his walk. This cycle persists until the liquid in the bowl is entirely transformed into clear water, signaling the conclusion of the performance.
Throughout this process, the footprints and ink marks on the white cloth gradually fade from deep black to pale grey, eventually vanishing as the ink is continuously diluted—leaving behind only the imperceptible traces of clear water. In his artist statement, Shi Jin-Hua wrote:
“The ‘bowl’ is the mind; holding the bowl is the practice of cultivating and sustaining the mind—first through the discipline of concentration, then through the presence of an awakened heart. The ‘ink’ symbolizes the ‘Three Poisons’ (greed, anger, ignorance) and the habitual impurities that cloud our original nature. Constantly replenishing the ink with clear water represents the vow of purification and the persistence of moral conduct. The white cloth is both the path to the ‘Other Shore’ (Paramita) and a Dojo (site of practice); the fading ink marks and footprints upon it symbolize the accumulation of past karma.”
The practitioner establishes his own precept: the ritual concludes only at the precise moment the liquid in the bowl becomes pure, clear water.
(Compiled and adapted the artist's writings)
《墨行》是一件行為藝術作品，啟發自佛經中「持滿缽油以定生死」的寓言，以及塔可夫斯基電影《鄉愁》中橫渡乾涸溫泉池的場景。藝術家以裝滿墨汁的缽取代經文中的油，反覆行走於一條白布之上；只要缽中墨汁溢出而不再滿溢，便以清水補滿，持續行走，直到缽中液體完全轉為清水，行為隨之結束。
在此過程中，白布上由深至淺的墨跡與足印，隨著缽中墨汁不斷被兌淡，終於只剩不留痕跡的清水。石晉華曾在作品自述寫到：「『缽』即是心，持缽就是修習持心，先是練心的專注，然後是用上覺醒的心。『墨』可以象徵污染本心的三毒與惡習氣；不斷以清水補滿缽中墨汁，象徵淨化的心願與持續的操行。白布既是到彼岸之道，也是一處道場，而其上由深至淺的墨跡與足印，則象徵過去所積澱的業。」持缽人自訂規矩，這個行為的結束時間，就定在缽中液體成為淨水的那一刻。
（文字編整自石晉華相關書寫）◆《墨行》2021–2022｜胚布、墨汁、水、缽、水瓶、白衣褲、過程影像、錄像｜地布：163 x 1200 cm；水瓶：Φ9 x H 32 cm；缽：Φ17 x H 9 cm；白衣：91 x 74 cm；白褲：102 x 50 cm；過程影像：47 × 66.5 cm，18件；錄像（彩色，有聲）：8′ 38″；文件：29.7 x 21 cm
展覽
2023 Hengshan Calligraphy Biennial: Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form, Hengshan Calligraphy Art Center, Taoyuan, Taiwan2022 A Drop of Water from Caoxi: Shi Jin-Hua—2022 Buddha’s Birthday Exhibition, Fo Guang Yuan Art Gallery, Kaohsiung, Taiwan
2021 The Rocks Return to Soil Where the Heart Belongs, Taitung Art Museum, Taitung, Taiwan2023「2023 橫山書藝雙年展：法與無法交織的年代—書法作為一種視覺形式」，橫山書法藝術館，桃園，臺灣
2022「曹溪一滴 • 石晉華 — 慶祝 2022 國定佛誕節特展」，佛光緣美術館 總館，高雄，臺灣
2021「石落心田 終歸大地 — 石晉華個展」，臺東美術館，臺灣
Literature
2020 NI, YU-AN “Spirit and Sequence: On Shi Jin-hua's Pen Walking Art and Practice”, “Art Accrediting” no.90 (2020–02),2020 倪又安 〈靈光與次第 — 略論石晉華的走筆藝術與修行〉｜《藝術認證》No.90（2020.02）